Few philosophers have had a more lasting impact on the philosophy of history than Friedrich Hegel. Reason and Revolution is Herbert Marcuse's brilliant interpretation of Hegel's philosophy and the influence it has had on political thought, from the French Revolution to the twentieth century. In a masterpiece of dialectical thought, Marcuse superbly illuminates the implications of Hegel's philosophy, rescuing it from the taint of reactionary thought that distorted or dismissed it for the early part of the twentieth century. After a masterful survey of the main elements of Hegel's philosophical system, Marcuse argues that it is Hegel the rationalist and progressive who stands in contrast to the irrationalism of Nazism, providing the crucial platform on which Marxist thought would later build and take Hegel's thought in a radical and explosive new direction. A vital book in the development of critical theory and for understanding the great battle between liberal and reactionary thought, Reason and Revolution remains essential reading today. This Routledge Classics edition includes a new Foreword by J.M. Bernstein

Traces the life of the American novelist from her childhood in the newly settled prairies of Nebraska through her years as a journalist, editor, and teacher, and examines the relationship between what she wrote and who she was.

It is commonly asserted that Maimonides' famous Thirteen Principles are the last word in Orthodox Jewish theology. This is a very popular notion, and is often repeated by scholars from all camps in Judaism. Yet such a position ignores the long history of Jewish theology in which Maimonides' Principles have been subject to great dispute. The book begins with a discussion of the significance of the Principles and illustrates how they assumed such a central place in traditional Judaism. Each principle is then considered in turn: the reasons underlying Maimonides' formulations are expounded and the disputes that have arisen concerning them are discussed in detail. Marc B. Shapiro's authoritative analysis makes it quite clear that the notion that Maimonides' Principles are the last word in traditional Jewish theology is a misconception, and that even Maimonides himself was not fully convinced of every aspect of his formulations. Although structured around Maimonides' Principles, this book can also be seen as an encyclopedia of traditional Jewish thought concerning the central issues of Jewish theology. The diversity of opinion in Jewish tradition on such issues as God, Creation, and the Revelation of the Torah is sure to surprise readers.

In 1935, while Virginia Woolf was alive and building her career as a woman writer, Ruth Gruber published a seminal essay on the novelist that is now seen as the first feminist interpretation of Woolf's writings and life. Seventy years after its original publication, Gruber's seminal critique is available once again, with new material that makes it more relevant for readers today. Virginia Woolf: The Will to Create as a Woman includes several previously unpublished letters exchanged between Woolf and Gruber, and a new introduction in which Gruber recalls her 1933 meeting with the English writer, examining the questions surrounding Woolf's bi-polar illness and anti-Semitism. In this groundbreaking assessment of Woolf's philosophy, influences, and style, Gruber laid the groundwork for a generation of future feminist analyses. She cogently examines Woolf's concept of gender and her literary influences, adeptly discussing how Woolf constructed a feminine writing style in a realm dominated by men. Above all, she shows how Woolf consciously strove to create as a woman. Virginia Woolf's experimental prose and her struggles with mental illness have made her an enduringly provocative figure, and today, more than sixty years after her suicide, Woolf's writing continues to fascinate and inspire readers.

In the fall of 1998, one year after the death of Isaiah Berlin, the New York Institute for the Humanities organized a conference to consider his intellectual legacy. The scholars who participated devoted much of their attention to the question of pluralism, which for Berlin was central to liberal values. His belief in pluralism was at the core of his philosophical writings as well as his studies of contemporary politics and the history of ideas. The papers given at the conference and collected in this volume concentrate on three aspects of Berlin's concept of pluralism. Aileen Kelly, Mark Lilla, and Steven Lukes trace the development and consequences of his distinction between hedgehogs, thinkers who have a single, unified theory of human action and history, and foxes, who believe in multiplicity and resist the impulse to subject humanity to a universal vision. Ronald Dworkin, Bernard Williams, Thomas Nagel, and Charles Taylor examine how liberalism can be sustained in the face of Berlin's insight that equally legitimate values, such as liberty and equality, may come into irreconcilable conflict. Avishai Margalit, Richard Wollheim, Michael Walzer, and Robert Silvers take up Berlin's advocacy for the State of Israel and his hopes for it as a place where the often contrary values of liberalism and nationalism might find harmonious resolution. The Legacy of Isaiah Berlin includes not only the panelists' contributions but also transcripts of the lively exchanges among themselves and with audience members following each session. The two days of discussion preserved here demonstrate the continuing vitality and relevance of Isaiah Berlin's thought in today's social and political debates.

Bentham and the Arts considers the sceptical challenge presented by Jeremy Bentham's hedonistic utilitarianism to the existence of the aesthetic. Leading scholars from a variety of disciplines reflect on the implications of Bentham's radical utilitarian approach for our understanding of the history and contemporary nature of art, literature, and aesthetics more generally

"Roman comedy evolved early in the war-torn 200s BCE. Troupes of lower-class and slave actors traveled through a militarized landscape full of displaced persons and the newly enslaved; together, the actors made comedy to address mixed-class, hybrid, multilingual audiences. Surveying the whole of the Plautine corpus, where slaves are central figures, and the extant fragments of early comedy, this book is grounded in the history of slavery and integrates theories of resistant speech, humor, and performance. Part I shows how actors joked about what people feared - natal alienation, beatings, sexual abuse, hard labor, hunger, poverty - and how street-theater forms confronted debt, violence, and war loss. Part II catalogues the onstage expression of what people desired: revenge, honor, free will, legal personhood, family, marriage, sex, food, free speech; a way home, through memory; and manumission, or escape - all complicated by the actors' maleness. Comedy starts with anger"